Selena Gomez - Good For You (Official Video) [+ Review]

And just like we promised, the new Selena Gomez 'Good For You' music video (scroll to watch) is here, with a whole new stripped down version of the song, without A$AP Rocky's segment. 

The new version features a lot less backing track but seemingly more autotune with the singer's voice being more dominant. You can certainly hear Gomez better, but the previous version sounded more atmospheric. 

It's a bold choice, one that seems to be dividing fans who are fond of the new version and those who preferred the previous. Whatever the case, the music video fits the new 'bare' version, with Gomez opting for several simplistic outfits including a white t-shirt, colourful dressing gown and other apparel. It's got everything you'd expect from this type of video: shower scene, laying on a sofa, writhing on the floor. 

Gomez shows off her new more mature image to match the different sound and it's one that pays off. Whilst the previous track may have been more catchy, the video is engaging enough to keep viewers interested. The artistic photography style and stripped back setting echo the emotional aura of the song and provide a suitable backdrop for a thoughtful video. 

You can read our review of the version of the song with A$AP Rocky here. 

Watch Selena Gomez's new video for 'Good For You' below: 

Icona Pop - Emergency [Review]

Yes, it's the zany, wacky and downright delirious Icona Pop, who are back with their newest single, 'Emergency'. Stepping out in immediate fashion, the duo kit up in futuristic gold and black outfits to perform the music video for 'Emergency', and it's an incredible party sensation. You can always count on Icona Pop to produce something a little different and outlandish, and 'Emergency' is just that; a mix of various musical stylings and with a pre-chorus like no other. Proving that they still have the wow factor after the success of 'I Love It' (feat. Charli XCX), and 'Emergency' has them returning to top form.

The track possesses a bit of a swing vibe, and you can just imagine people gaining great enjoyment from getting up and dancing to it, it's a real feel-good anthem: "I put a little twist in my hips/ kiss on my lips/ ice on my wrist 'cause I'm hot and I'm dancing". Icona Pop have teamed up with Erik Hassle who sings all about the 'Emergency', whilst the duo rave it up on the other verses. 

As anticipated, the music video is designed specifically with the song's eclectic nature in mind, and Icona Pop wear some ridiculously cool (and glittery) eye wear. There's flashlights, sirens, body bags and a whole lot of hip twisting. It's upbeat, energetic and wonderfully edited. 

Watch the undeniably charismatic Icona Pop in their latest music video for 'Emergency': 

Selena Gomez - Good For You ft. A$AP Rocky [Review]

OK, I almost can't believe I'm saying this. But Selena Gomez has a new sound (and look) and it's actually pretty amazing. Yes, Gomez has enlisted the help of some auto-tune (but let's face it, who hasn't these days?) to assist her in her new quest for musical domination but that doesn't detract from the fact that this is a sultry, solid sound for the singer. 

Teaming up with A$AP Rocky, Gomez has released the smooth audio for new track 'Good For You', and it's undeniably catchy. We're predicting big things for this song. Gomez's verses flow beautifully and intertwine with the gradually building beats perfectly (some one give this woman's producers a GRAMMY). It's slower and more drawn out than Gomez's usual up-beat pop sound, which is a big risk, but one than monumentally pays off. 

Gomez has shown she has the self-confidence, both lyrically and personally, to venture into new territory and sing something that is distinctly different from anything she has done before. Gomez has adopted a new mature sound that echoes her years (seriously people, she's 22, not 12) and will hopefully help her shed the Disney image she still carries around (undeservedly) like a dead puppet. If this doesn't do it, nothing will. 

With breathy mesmerizing vocals that possess a stunning echo, Gomez has really kicked up the ambience to an 11 in this slick production (big credit to producers: Sir Nolan, Nick Monson, A$AP Rocky & Hector Delgado). The lyrical content has an essence of self-confidence, with Gomez singing about looking good and being 'good' for her other half. Particularly notable lyrics include the use of poetry: "leave the stress from us on the floor" and "syncopate my skin to your heart beating". Also have to give a shout-out to the jewellery reference: "could even make that Tiffany jealous". A$AP Rocky also has a segment towards the end of the song which echoes Gomez's sentiments whilst also implying certain sexual acts. Overall, Gomez appears to be well a truly on form with A$AP Rocky in this impressive new single. Listen to the audio below, and check back tomorrow for our thoughts on Gomez's music video (released 26th June), directed by Sophie Muller:

Foxes - Body Talk [Review]

After releasing her début studio album last year (entitled Glorious), Foxes is back with new single, 'Body Talk' (scroll for video). The track serves as the first single off her upcoming sophomore album and by the looks of it, the singer is taking a more retro route for her music. With a distinctly disco vibe and classic synths in full force, 'Body Talk' is an interesting new venture for the songstress. Charting previously unexplored territory, it appears the singer is branching out into different musical styling and leaving her safety net. Foxes still showcases her vocal range, hitting high notes left, right and centre, but there's just something not all that memorable about the end result.

Whilst 'Body Talk' is a perfectly adequate song, it misses on the memorability factor, despite being a more vibrant, upbeat addition to her discography. It would appear the 80s is a popular musical influence on singers as of late, with many acts turning to the retro era for inspiration. Despite the somewhat lacklustre musical effort, Foxes has a particular ability to show off a range of emotions in her singing, and this is reflected appropriately in the video. Singing about a lover whom she misses but now recognises that she is over, "It's not right, now I know, I don't need him/ Let your body talk" soaring her way into the radio-friendly chorus.

Now that we've covered the track, it seems only fitting that we move on to the frankly bizarre music video. Now, we're not saying there's any people with super-imposed cat faces or donning wacky outfits, but there is a lot of petrol station/garage dancing. Yep, just spontaneous (totally not choreographed, cough) dancing with several other woman. As you do, you know, on your way to fill up your car or grab some dodgy snacks from the petrol shop. So you know, if you want your own 3am petrol jam just head down to your local stop and Foxes should be there to dance the night away. 

tumblr; gif by aobea

Anyway, whilst the concept of the video could have been better, the moody pink and blue lighting sets the tone beautifully and there's something strangely appealing about the way in which water drips down the outside back window in Foxes' car.

Tumblr; gif by frootxcx

If you want to check out Foxes' video and track 'Body Talk' then watch below, and let us know your own thoughts in the comments: 

Mr Holmes (2015) Review

"I've decided to write the story down; as it was, not as John made it. Get it right, before I die."

The fictional character of Sherlock Holmes, conceptualised by Sir Arthur Conan Doyle, is one of the most recognisable literary figures and the tales of the notorious detective have been adapted for stage, screen and radio, spawning over 200 films in total – the most recent instalment being Mr Holmes.

The film stars Sir Ian McKellen in the titular role, and commences long after Sherlock Holmes has retired, based upon the novel A Slight Trick of the Mind by Mitch Cullin. The film follows Holmes as he spends his later years in an isolated farmhouse in Sussex, with his only companions being his housekeeper, Mrs Munro (Laura Linney) and her young son, Roger (Milo Parker). Now older, Holmes finds his memory deteriorating, and struggles to recall the events of one case in particular, in which a young man came to him to seek his expertise in understanding the recent behaviour of his wife. The film approaches the character of Sherlock Holmes from a different angle than recent screen adaptations that focus on a younger portrayal of the infamous detective, such as the BBC’s Sherlock. Rather, in Mr Holmes the tone is more melancholic, with Holmes retrospectively reviewing his detective career, relationships, and the public’s interest with a version of Sherlock Holmes that may be incredibly dissimilar to the reality. In one particular scene Holmes goes to view a film adaptation of his investigative tales, and comments on the portrayal of himself to be ‘pantomime’.

But if you are expecting a fast-paced plot and hard-hitting action, you will be disappointed. Mr Holmes meanders along at its own pace, presenting itself as more of a limited memoir of the life of the infamous detective, following the thoughts and feelings – namely regret – that haunt Holmes as he nears the end of his life. However, this is not necessarily a bad thing; the film caters to an audience interested in the character of Sherlock Holmes at a deeper level, beyond his ability to read facts and follow logic to solve a case. It focuses on Holmes as a person, facing deteriorating physical and mental abilities, and the legacy he may leave behind. The cinematography is indulgent, with the white cliffs of Dover and the bright, flowering countryside providing an idyllic backdrop, which helps to mediate the sometimes solemn tone of the film.

Enjoying this review? Read the rest on Concrete, here.

Years & Years - Foundation

With only a few weeks left to go until the release of their début studio album, entitled Communion, English trio Years & Years are at it again, releasing the music video for their track 'Foundation'. With a seemingly never-ending beat, the track is haunting and always feels as if it is building (a foundation) to something bigger.

 It makes perfect sense that this is the opening track of the album, and can really only be listened to in that context as otherwise it sounds a bit odd. If you however know that is the beginning to the album, everything seems to slot perfectly in place. There is a certain ominous nature of the song, whether it be the mysterious echoes in Olly's voice or the dark nature of the instrumentals, which is combined with the even creepier music video. 'Foundation' runs the risk of leaving listeners confused or wanting more, but this seems to be the very exact purpose of the track itself. 

Watch Olly get resurrected and team up with Emre and Mikey in the music video below:
We have also covered Years & Years' other tracks, which you can read about and listen to:
Years & Years - Take Shelter 
Years & Years - Desire 
Years & Years - Shine 

Ian McKellen: The Essentials

There are few people as adept at acting across a variety of mediums as Ian McKellen (Sir, if you’re doing it right). Whether it be theatre, television or indeed film, McKellen proves his talent and wins over the hearts of audiences (as well as numerous other awards) time after time. The release of the great actor’s newest feature Mr Holmes, has afforded us an invaluable opportunity to look back at some of his most memorable roles.

Richard III 

Considering McKellen’s particular talent and aptitude for theatre, it seems only fitting that one of his most memorable performances came from a movie adaptation of the Shakespeare play of the same name. Playing the distinguished title character, McKellen truly took his place on centre stage and proved that he is an acting force to be reckoned with. This impressionable performance managed to garner a BAFTA award nomination and a Golden Globe nomination, although McKellen did not win (sacrilege).

Gods and Monsters

1998 saw McKellen assume the role of James Whale in a drama about the troubled film director of the same name, entitled Gods and Monsters. Centring mainly on Whale’s World War I experience, and featuring reconstructions of the filming of the Bride of Frankenstein, McKellen assumed the form of the troubled Whale. Earning himself his first Academy Award Nomination for Best Actor, McKellen’s performance as Whale was truly inspired, and his on-screen presence undeniably electrifying.

But, what's that I hear you say? What other Ian McKellen films make it onto our list? Well you can go see what our other 3 essential Ian McKellen movies are, over at I'm With Geek. Let us know your thoughts in the comments! 

Rising Star: Britt Robertson

There comes a time when, watching a film, you see someone on screen that captures your attention and you are left wondering who they were. Sometimes there is a certain sense of star quality to them, that you can’t help but feel like one day they will be a big hit. Maybe it’s the same thing people saw in Jennifer Lawrence when she starred in Winter’s Bone. Whatever the case, Britt Robertson has been lighting up screens recently with her charismatic and adorably goofy performances.

Britt Robertson may not be a name that is known well, but she is more than making up for that with her delightful on-screen persona. Having starred in big sci-fi Disney blockbuster Tomorrowland, where she portrayed a passionate optimist who had a penchant for technology and the universe, she seems like an emerging force to keep an eye on in the industry. It is notoriously difficult to hold your own in a film which is so littered with notable actors and talent, and Robertson has her work cut out for her, being cast alongside Hugh Laurie and George Clooney. Still, Robertson proved to be one of the most memorable characters, giving an incredibly likeable and dedicated performance as the ambitious and slightly rebellious teenager. A role that has been cast many times before, Robertson made it her own and managed to shine as bright as the diverse galaxy she was trying to protect.

If you'd like to read the rest of this article about the fabulous Britt Robertson, then you can do, over at I'm With Geek.

Muse - Drones [Album Review]

(For a track-by-track review, scroll down) Incredibly back with their seventh studio album are English heavy-rockers Muse, whose return ushers in a familiar sound from previous albums (guitar-bass-drums anyone?). The album, entitled Drones, deals with a protagonist who goes through indoctrination and throughout his struggles on the album, eventually defects. Matt Bellamy has described the concept of the album as "a modern metaphor for what it is to lose empathy", whilst commenting on the stripped-back nature as necessary in order to "reconnect and remind ourselves of just the basics of who we are". But can Drones live up to such high standards for such a raw concept that is quintessentially Muse? 

Up first is ‘Dead Inside’ which takes the classic relationship track and puts a particularly dark spin on it. It is the beginning of the album’s journey and a provides a suitably dramatic start. The song highlights the toxicity of a rather horrific relationship with significant lyrics: “Your lips feel warm to the touch/ You can bring me back to life/ On the outside you’re ablaze and alive/ But you’re dead inside”. Incorporating the elements of horror with incredible bass line simultaneously mixed together with Bellamy’s vocals, there is all the components of a great authentic track - that actually delivers. ‘Dead Inside’ lays a solid foundation for the Drones album with an over-lining theme developing and becoming increasingly apparent. It is indoctrination for the potential Muse fan at its most infectious. You can also read our full review of this song, here. 

A 'Drill Sergeant' interlude follows this up as track 2. ‘Psycho’ shows that Bellamy has lived by his word, with this 'back to roots' style being ever apparent. It is a stripped down performance that incorporates the album’s base themes whilst also adding a psychotic edge, structured by Bellamy’s vocal delivery. It’s sharp, it’s bold and it’s sometimes frightening. This is definitely going to be the marmite track for listeners. You heard it folks, we’re calling it. ‘Mercy’ follows with some emotive lyrics: “Help me/ I’ve fallen on the inside/ And all the men in cloaks/ Trying to devour my soul”. Powerful stuff from Muse, and a more angelic addition especially towards the latter part, no doubt trying to emulate the feelings from the main protagonist as he begins his journey into self-discovery and rebellion against untold forces. If you had the pleasure of seeing Muse live at BBC’s Radio 1 Big Weekend then this was quite the crowd pleaser and the acoustics were incredible. This one has the addictiveness that you look for in a more humanistic Muse track. There are no gimmicks here.

Track 5 is ‘Reapers’ and this one is chocked full of solid riffs and chaotic sounds, with a distinct element of disconnect that supports the overall concept of the album. This is very much an immediate track grounded in a sense of emergency, danger and brutality. Up next is the surprising ‘The Handler’. We're going to come out straight and say that this is a particularly notable song from the album, with its heavy conceptual lyrics about war, indoctrination, submission and rebellion all wrapped up nicely with heavy guitar and drum solos that are trademark 'Muse'. Bellamy’s tenor vocal range is used to full effect, guiding listeners across this triumphant middle-track that is both haunting and familiar. The 'JFK' interlude follows. 

#8 is ‘Defector’ and now we have reached the full rebellious vibe of the album, where the protagonist has fully recognised his situation and has chosen to ‘defect’ and is now “Free/ Yeah I’m free/ Free from society/ You can’t control me/ I’m a defector”. Hang on until 2:40 from a melodic episode that’s particularly notable. ‘Revolt’ follows and considering the strength of previous tracks, this one is a little lacklustre. Whilst Bellamy may be on form, the components just do not work as well together and it’s a bit of an easily forgettable track. The drones may have won on this one. Fortunately, ‘Aftermath’ is here to pick up the pieces. Possessing nostalgic instrumentals, this is something you’d expect to find in a film. With the track depicting the events after rebellion and war, it’s an odd mix of angelic guitar beats and sweet vocal deliveries. However, there is a strange sense of comfort that surrounds this song, which makes it really sticks out, having a strong impact on listeners. 

In at #11 is ‘The Globalist’ and we are going to keep it short and sweet with this one. We thoroughly recommend going to listen to it for yourselves to fully understand. Yes, we know that’s a bit of a cop-out (go listen to it anyway). ‘Drones’ concludes the album, and ok, now we’ve officially lost the plot. This almost-3-minute-venture may as well come straight off a Christmas carol list. Except it’s essentially depicting severe mass murder: “Killed by drones/ My Mother, my Father/ My sister and my brother/ My son and my daughter”. It’s all very apocalyptic and resounding, something you’d find from a movie soundtrack, no? Overall, it’s suitable for the type of album Muse is going for even if it is a bizarre addition.

Overall verdict:

Drones has Muse going back to the basics (how many times have you heard that before?) but this time with a political edge, and although the political message and lyrical content is sometimes not that sound or well-structured, the vocals and instrumentals are on point. All in all, Muse have created a whole mound of songs that range from the bizarre to the haunting with a few gems churned in for good measure. Whilst the lyrical content will no doubt be up for debate, you can’t deny that Muse hit some extremely high notes across the album, with ‘The Handler’ being an undeniable winner, along with ‘Mercy’, ‘Dead Inside’ and ‘Aftermath’. Muse have certainly proven they work best without the sci-fi gimmicks of past albums, with Drones being a more comprehensible and competent album. 

Spy (2015) Review

"I look like someone's homophobic Aunt!"

Oh the delightfully delirious world of comedy spy films. Taking the unassuming and often grossly incompetent spy and putting them straight in the line of enemy fire is a formula that has been re-used time and again, so it comes as no surprise that notable funny woman Melissa McCarthy should be headlining a film of this nature.

Aptly entitled Spy, McCarthy assumes her form as Susan Cooper, a socially awkward desk-bound CIA agent who spends her time dreaming of bigger things, and about her suave team-mate Agent Bradley Fine (Jude Law). Cooper’s chance eventually arrives when the trail of a suitcase nuclear bomb goes cold and the names of company agents are leaked. With no one left to go into the field to track down the bomb and spy on De Luca (Nargis Fakhri), Susan steps up to the plate.  Granted, this sounds like a painstakingly awful and repetitive premise for a movie and you’d be forgiven for thinking this would be destined to wind up in a bargain bin in the not-too-near future. But you’d be pleasantly surprised and undoubtedly wrong. Spy subverts traditional conventions and expectations, with McCarthy’s Cooper more than capable of handling herself in extreme situations (possibly a little too well), providing audiences with laugh after laugh through her impeccable comedic timing and delivery. It’s a definite step up from Tammy and shows audiences what she can really do when she’s in her element; a true testament to her talent.

Spy sees McCarthy find herself several unlikely comedy partners, in the form of Rose Byrne, Miranda Hart and Jason Statham. Byrne portrays rich villainess Rayna Boyanov, and the two have unlikely on-screen chemistry, dishing out hilarity at an alarming rate considering the diversity in their characters. Hart and McCarthy as Susan and Nancy are the ingenious odd-couple who ooze comedy and it’s a wonder no one has thought of pairing the two up before. Similarly, Statham is the perfect embodiment of a spy spoof, it’s safe to say you’ll never look at Statham in an action film the same way after you hear his ridiculous one-liners and arrogant speeches that bend the laws of physics and logic.

Director Paul Feig proves that he is on top of his game in this unashamedly bold and entertaining take on classic espionage films, which utilizes its ensemble cast to full effect. Despite starting off slow at the beginning and taking a few good minutes to fully get going, Spy delivers a competent story that is so intertwined with riotous action and side-splitting humour you may forget to stop laughing well after the credits have rolled. 

This review has also been published online on Concrete, go give it some love! 
http://www.concrete-online.co.uk/review-spy/ 

Years & Years - Shine [+ Review]

It's Paranormal Activity 5 Years & Years' new music video (scroll down to watch) for 'Shine'! The English trio have produced another catchy tune (seriously, this album is shaping up to be a real hit when it is released on the 10th July) with a killer melody that figuratively shines. From the glittering electronic beats to Alexander's smooth vocal delivery, 'Shine' is a real gem. Considering previous Years & Years tracks have had more of an instant command of audiences, this new song grows on you over time, as you appreciate the different lyrical verses and the clever construction. 

Undeniably suitable for summer, it's not hard to imagine the connection to summertime sunshine that will be made considering the lyrical content, but it is much more than just an easy-to-listen-to track, with notable lyrics that have multiple meanings: 'It's shaking the sky/ and I'm following the lightning/ I'll recover if you keep me alive/ don't leave me behind'. As always, Years & Years are on hand to pair up their new track with an equally bizarre (but intriguing) music video, and they seem to have taken inspiration from a few paranormal films, where the trio are plagued by mysterious forces and seemingly recover with the help of a mysterious light source (of course!). 

Visually, it's very indie but the production is very slick and the use of coloured light in the video adds to the strong visual effects; it's chaotic, but aesthetically pleasing at the same time. 'Shine' is a solid follow-up to smash-hit 'King' and will provide much buzz for the trio's upcoming album release, whilst satisfying their fans' desire for new material. 

Rita Ora - Poison (Official Video) [+ Review]

It's been over a year since her last solo single, but Rita Ora is back with new track 'Poison' and an artistic music video (scroll down to watch) to go with it. The song is the lead single from her next upcoming studio album (which has yet to be named) and was written by Julia Michaels and Kate Nash. 'Poison' focuses around a toxic relationship, displayed in the music video, where Ora is seen to change her appearance to fit in with a particular photographer's ideal. Straying from her original roots and the man she was with (who appears to be her friend/lover) she adopts a new path as a quirky model for a (incredibly creepy) blonde-haired photographer. 

By the end of the video, however, it seems that neither man was right for Rita as she burns down several of her photographs and runs away, adopting a new style and path that is more fitting for herself. The music video can be taken as highly metaphoric in many ways for the toxic nature of the music industry, as well as actual relationships, and it's reassuring to see the singer try a different style of music video that has a bit more meaning behind it. 

Having not been particularly amazed by Ora's previous works (she seems to be a singer known for guest starring on other popular singer's tracks as opposed to having an actual notable songs of her own), 'Poison' could be the break the singer has been looking for to establish herself as a credible solo artist. While the singer does suffer from unfortunately looking like other singers (a cross between Rihanna and Gaga in this particular one) it is obvious she is trying to carve out her own niche and style, and is getting there. It is a shame in some ways that Ora has a rather good song but is not recognisable enough as a solo artist for it to make enough of a big impact on the industry, although we hope this is not the case. 

'Poison' has all the components you could want in a good pop song: steady beat, resounding chorus and killer hook ("I pick my poison and it's you/ nothing could kill me like you do/ you're going straight to my head/ and I'm heading straight for the edge"). With a catchy and memorable song, and an interesting music video to draw in viewers, this is a strong addition from the British singer.